Page 62 - BECOMING EVA SHOW CATALOGUE

IB: The framed story that you also talk about space. will necessarily go wrong, is
accompanies the exhibi- the possibility of hypothesi-
tion opens with a tem- SG: True, this is important. zing something. The novelty
poral indication, even if it of space and time of circu-
is a time unknown to us: SN: Two fundamental ter- lar seconds and circominu-
the circominutes and the ms for Eva’s performance tes also has an iconographic
circoseconds. Can I ask and for her container Di- flavor; that is, in the word
you how they were born? sciplina del Grande Spazio, circominutes I see the clock
now what you describe again, one of the elements
SG: This invention of the are hyper-complex issues, that recurs most often both
circominutes, is an idea that a fundamental crossroads in your poems and in the
had to do with what kind of for the very survival of the notes, a sort of immediate
perception of time an arti- human species. From my passage from the text to an
ficial intelligence could have. point of view another time idea of image. Even the spa-
It will probably be a compu- and another space become ce of the performance went
ter, an evolution of quantum constitutive premises for in this direction: we entered
computer technology. All the genesis of Eve. If you immersed only in image, at
those who deal with these think about it, the electric the end of the room the vi-
things say that the only way blackout in which the per- deo and on the right a pho-
to arrive at a very powerful formative action develops, to, then came the action. An
artificial intelligence is the and Eva becomes percepti- action, however, different
computing power, let’s say ble, makes Spazio Gamma a from the direct implementa-
for what is their conception space suspended in time: it tion of the gesture or will of
of intelligence. They say that is completely isolated from the artist. Going back to the
it is a matter of being able external signals: from atmo- idea of suspension Icaro, for
to acquire more and more spheric light and from the example, had made an exhi-
data by processing it faster electric network: the radio bition in which all the public
and faster, also to under- control is battery operated, was present and the artist

stand how a brain works. the infrared viewer also, the- in another place would have
They have an idea, of cour- re was a sort of total isola- said to turn off the light, then
se it’s all to prove, that the tion. I acted this way because in another place he would
brain is in the end a great it was a different thing from have said to turn the light
conserie of interconnected the arguments you define on again. But it was always
data that at the moment we well, which are arguments a demiurgic action of the
don’t have enough compu- of power basically: because artist in a direct way, inste-
ting power to solve, they say. we are talking about artifi- ad here Eva is someone to
I imagined that thing hap- cial intelligence and its de- which you give the action?
pening there, and therefore velopment. The question I
that the computing power is always ask is am I just intel- SN: I tried to create, to an-
enough to get to this futuri- ligence? No. My answer is ticipate, without authority.
stic scenario where the sen- no. I feel a great risk in set- The fundamental thing was
se of time should be com- ting up this debate without to put Eva in a condition
pletely different from ours. asking and asking a funda- to be born, after which her
A time inhabited by subjects mental question, so the fear being was determined by
who would not even per- and also the sense of the her doing, in fact even with
ceive the passage of time as tragic is also fundamental in the performer I didn’t have
we understand it, as already the performance, achieved particularly rigid requests
theoretical physics tells us. I through forms of estran- for behavior or movemen-
imagined that their idea of gement that go beyond the ts. I simply told her: “I don’t
time is symbolically seen as pure idea of intelligence. want to make a representa-
circular, not because it is re- tion of Eva I want to crea-
ally circular, but because in IB: But in fact working on te a condition in which Eva
the total immediacy it is as this very element of fear, to moves”, for me geography
if the beginning and the end a superficial eye that mo- and space are fundamental, I
keep coming back and so we ment that suspension of created, I claim the creation
talk about circular minutes darkness in which we were of this time and other space,
and in the introduction the immersed could suggest which are a sort of Humus
time that passes is expres- a dystopian reading, a dy- in which one and a hundred
sed in circular seconds after stopian suggestion, instead thousand Eva develops, be-
so many minutes, as to make what becomes very evident cause Eva is a subject but
the comparison over thou- when reading the poem and can be various subjects. For

sands of years of our time. the notes is just what we my part this is a donation of
were talking about now, this things then the events have
SN: The interesting thing is sense of anticipation, not developments of which I my-
that you talk about time and dystopia of something that self am not perfectly aware.